By Xiaomei Chen
This condensed anthology reproduces just about a dozen performs from Xiaomei Chen's well-received unique assortment, with her serious creation to the old, cultural, and aesthetic evolution of twentieth-century chinese language spoken drama. Comprising consultant works from the People's Republic of China, the gathering encapsulates the innovative rethinking of chinese language theater and function that begun within the overdue Qing dynasty and vividly portrays the uncertainty and anxiousness because of modernism, socialism, political clash, and warfare. selected works from 1919 to 1990 additionally spotlight the formation of chinese language nationwide and gender identities in the course of a interval of large social, cultural, and political switch and the genesis of latest attitudes towards the West. PRC theater tracks the increase of communism in China, juxtaposing beliefs of chinese language socialism opposed to the sacrifices made for a brand new society. Post-Mao drama addresses the nation's socialist legacy, its try to reexamine its cultural roots, and postsocialist reflections on serious concerns comparable to state, type, gender, and collective stories. a necessary, moveable advisor for simple reference and school room use, this abridgement offers a concise but well-rounded survey of China's theatricality and illustration of political lifestyles. This paintings has not just demonstrated a canon of recent chinese language drama but additionally made it to be had for the 1st time in English in one quantity.
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Extra info for The Columbia Anthology of Modern Chinese Drama
12. Dong Jian, Tian Han zhuan (A Biography of Tian Han) (Beijing: Shiyue wenyi, 1996), 205–10. 13. For recent scholarly studies in English on Mei Lanfang, see Joshua Goldstein, Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870 –1937 (Berkeley: University of California Press, 2007), and Haun Saussy, “Mei Lanfang in Moscow, 1935: Familiar, Unfamiliar, Disfamiliar,” Modern Chinese Literature and Culture 18, no. 11 (spring 2006): 8–25. 14. Hong Shen, “Daoyan” (Introduction), in Zhongguo xin wenxue daxi, 1–100; 70.
We ought to trust our own judgment, isn’t that so? mrs. tian : It wasn’t only Guanyin who said so. mr. tian : Oh! Who else? mrs. tian : I still wasn’t satisfied after I saw the verse. I still had some doubts. So I had someone go and invite in the most renowned fortune-teller in the city, Blind Chang, to come and make birth date calculations. mr. tian : Humph! humph! There you go again forgetting what you promised me. mrs. tian : I know, but for our daughter’s sake I’ve been so unsettled, so uncertain of how to handle things, that I had to go find him to settle on a decision.
The Main Event in Life (1919) Hu Shi Tra nsla ted by Edwar d M. Gu nn C ha r a c t e rs m rs. t ian 㝥㜡㜡 f ortune- t eller 㚛ツ㥸㔶 l i m a ⿲ miss tian yamei 㝥Цみ m r. t ian 㝥㥸㔶 Setting (The parlor of the Tian home. There is a door on the left leading to the front door, and a door on the right leading to the dining room. Upstage is a sofa, flanked by two armchairs. At center stage there is a small round table with a flower vase on it, flanked by two chairs. There is a small writing desk against the left wall.